Enter Children, with Childhood

Abstract

Anglo-American musicology is having a childhood moment. The foundation of the American Musicological Society’s Music and Childhood Study Group marked this moment most clearly, together with the launch in 2021 of an accompanying website maintained by Susan Boynton and Ryan Bunch.1 Not that children and childhood are anything new as a topic of enquiry in music studies: since the mid- to late twentieth century, children’s musical cultures have formed a steadily expanding subject for ethnomusicologists, to some extent predating the institutionalization of the study of childhood in anthropology generally.2 Since Boynton and Roe-Min Kok published an early state-of-the-field collection in 2006 (as the outgrowth of an International Musicological Society conference), studies of music and childhood have burgeoned principally at the intersection of ethnomusicology and other fields – notably popular music, as in Kyra D. Gaunt’s The Games Black Girls Play, as well as music education and technology studies, both of which intertwine in Tyler Bickford’s Schooling New Media.3 At present, the relation between popular music, mass media and youth culture forms the most prominent subject of musicological debate about childhood.4 Contrary, then, to the implications of this article’s title, we might say as music scholars that children have always been around, but that large parts of the discipline have not paid them much attention.